Principles of Orchestration with Musical Examples Drawn from his Own Works

by Nikolai Rimsky-Korsakov

In his "Memoirs of my musical life" the following passage occurs: "I had planned to devote all my energies to the compilation of a full treatise on orchestration. To this end I made several rough copies, jotting down explanatory notes detailing the technique of different instruments. What I intended to present to the world on this subject, was to include everything. The writing of this treatise, or, to be more exact, the sketch for it took up most of my time in the years 1873 and 1874. After reading the works of Tyndall and Helmholtz, I framed an introduction to my work, in which I endeavoured to expound the laws of acoustics as applied to the principles governing the construction of musical instruments. My manual was to begin with a detailed list of instruments, classified in groups and tabulated, including a description of the various systems in use at the present day. I had not yet thought of the second part of the book which was to be devoted to instruments in combination. But I soon realised that I had gone too far. With wind instruments in particular, the different systems were innumerable, and each manufacturer favoured his own pet theory. By the addition of a certain key the maker endowed his instrument with the possibility of a new trill, and made some difficult passages more playable than on an instrument of another kind. "There was no end to such complications. In the brass, I found instruments with three, four, and five valves, the mechanism varying according to the make. Obviously, I could not hope to cover so large a field; besides, of what value would such a treatise be to the student? Such a mass of detailed description of the various systems, their advantages and drawbacks, could not but fail to confuse the reader only too eager to learn. Naturally he would wish to know what instrument to employ, the extent of its capabilities etc., and getting no satisfactory information he would throw my massive work aside. For these reasons my interest in the book gradually waned, and finally I gave up the task."

Genres: Music, Reference, Nonfiction, Classical Music, Russia

194 pages, Kindle Edition

First published July 15, 1822

About the author

Traditional folk music heavily influenced operas and orchestral works of Russian composer Nikolai Andreyevich Rimsky-Korsakov.

With Aleksandr Konstantinovich Glazunov, he his student, completed an opera.


This member of the group, known as "the five," mastered. His best-known Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade constitute staples of the classical repertoire alongside suites and excerpts from some of his 15 operas. Scheherazade exemplifies his frequent use of fairy tale and subjects.

Rimsky-Korsakov as fellow Mily Balakirev and critic Vladimir Stasov developed a classical nationalistic style. This style employed song and lore alongside exotic harmonic, melodic, and rhythmic elements in a practice, known as orientalism, and eschewed traditional western methods. Rimsky-Korsakov, a professor of harmony at the Saint Petersburg conservatory in 1871, however, appreciated western techniques. He undertook a rigorous three-year program of self-education and mastered western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of the five. His exposure to the works of Richard Wagner further enriched his techniques.

Reviews

[Christian · Rating 5 out of 5]

A very colorful description of harmonics and counterpoints between instruments. I found this book rather helpful in learning more about orchestration - Rimsky-Korsakov is an already famous composer that I wish had written more than one volume on composition. I will definitely read this again, he made learning interesting and easy to audiate.

[Jared Orentlich · Rating 4 out of 5]

This book is a notable attempt to show all of the nuances of orchestration. The author, famous Russian composer Rimsky-Korkasov, describes everything one needs to know about arranging parts for a string or full orchestra. i recommend this to anyone studying orchestration.

[Arno · Rating 1 out of 5]

Warning

The e-book is literally just a table of contents and some ads.
The entire text is missing.
Worthless. Do not purchase under any conditions.

[Eric · Rating 4 out of 5]

Principles of Orchestration is a really interesting look into the mind of one of Russia’s most influential romantic composers, but I’m not sure if a text book is really the best way to learn orchestration in the year 2025.

The book is actually two volumes in one; the first third is Rimsky-Korkasov’s notes and explanations about instruments, their capabilities and pairings, and some general guidelines on textural clarity. The second two thirds are musical examples that are referenced in the first portion. This means you are constantly flipping back and forth and see what Rimsky is talking about.

This book makes me realize what extraordinary imagination and audiation abilities the old masters must have had. Unless you have a phenomenal ear, just seeing the sheet music is not enough to really explain what a particular pairing of instruments sounds like. So he might say that placing flutes below oboes sounds bad and then reference a passage in which the flutes are, correctly, above the oboes, but you will still be wondering exactly what flutes below oboes sounds like and why it’s to be avoided. It is really necessary to listen to all of the examples, which is difficult as many of them are short fragments from very long works.

If you are a fan of Rimsky-Korsakov’s music, this book is a fascinating read, but if you are trying to learn the art of orchestration, I think you are better off with video lessons that allow you to hear samples as you read. I would recommend Thomas Goss’ Orchestration Online lessons or Alain Mayrand’s course, Orchestrating the Line.

[Ayden Wiggins · Rating 5 out of 5]

Principles of Orchestration by Rimsky-Korsakov, as expected, discusses the intricacies of orchestration. It was most useful in studying Russian music specifically as that was what Rimsky-Korsakov wrote. This book outlines every detail one could possibly need in the art of orchestration, including vocal production for both opera, choir, and chamber works and how to integrate them within an orchestra. Because of these specificities it is able to retain its relevance in modern orchestral music, tying closely to the great film composers of our time. I did feel, however, that it was lacking detail on integration of woodwind solos and solis into string and brass parts. I would recommend this book to anyone looking to better understand the components behind orchestration, it is an essential book on the subject.

[James Salinas · Rating 5 out of 5]

superb. took me a lil while to get through since i wanted to listen along and apply along with not consistently reading it, but super informative book from the master of orchestration himself. crazy how relevant and still applicable it is 100+ years later

my favorite part was when he named three separate instruments and super casually dropped, “of my invention”

[P. S. · Rating 5 out of 5]

No doubt, this is the most complete and deep study of western orchestration up to date. Although many might argue on the fact that Rimski-Korsakov is the father of this science and this is (still) the most comprehensive guide in this ocean - this guide contains the essence. Everything else is further development.

Something which is not very popular among teaching composers is the quality of Rimski-Korsakov's linguistic expression. The author is able not to inform but completely transform our understanding of the function and importance of orchestration.

Conclusion: if you feel like shaping your skills and understanding in music creation - this book is one of your best friends. For life.

[Daniel · Rating 5 out of 5]

This is my go-to guide for orchestrating my symphonies and other full-orchestra works.

Written by one of the Mighty Handful (or Russian Five) composers, Rimsky-Korsakov's Principles of Orchestration is one of the most important treatises on how to write for a symphonic orchestra. Instruments and instrument sections are covered: strings, woodwinds, brass, percussion. Voicing, part doubling, timbre, balance, all the important aspects of how to make quality compositions and arrangements.

Musical examples are included, most of them from works by the author himself, including Scheherezade and Capriccio espagnol.

(It is also available on the web for free at several locations, in the original Russian and also in English, French and German translations.)

[Richard · Rating 5 out of 5]

One of two books on orchestration that I've kept at my side for many years. (The other is the classic Walter Piston text.) I find R-K more charming than Piston in some ways, and he certainly has a way with color so I tend to trust his judgement. The examples from his own work are also valuable and instructive.

[Carolyn · Rating 4 out of 5]

This is not a quick read. It takes a lot of thought and study, but I know it will be well worth it.

[Brian · Rating 3 out of 5]

A bit dated, but does a good job being direct and explaining the concepts with lots of musical examples.

[Khaled · Rating 5 out of 5]

Not the most updated (Walter Piston's or Samuel Adler's are way more updated), but it's definitely useful for every composer/orchestrator.

[Serge Pierro · Rating 3 out of 5]

A solid book on Orchestration. Tons of examples. Works best if you have access to a good Orchestra sample library to hear what the examples sound like.

[Rachel]

helpful

[Alfredo Moura]

Excellent book, with the visionary ideas of Korsakov. Fundamental.

[Ahmad Babtain · Rating 5 out of 5]

I wrote some of my best pieces as a hobbyist using it as a reference.

[Jackie Manning · Rating 5 out of 5]

This book was very insightful on proper orchestration within the pairing of the various pitches and timbres of orchestral instruments.

[Craig · Rating 1 out of 5]

he had a definite hard-on for strings

[Sam]

i like it

[JohnathanC · Rating 5 out of 5]

Excellent book about orchestration. The descriptions of the instrument groups are fairly objective. The most helpful parts for me were the ones about voicing of harmonies. It’s not really the type of thing you’d just sit down and read, but I would consider it a very useful tool to a composer/orchestrator. If you’re a beginning composer, it will seem very heavy at first, so I recommend you take a little section of it and apply whatever principle it’s talking about to your own composing.